Gringolts plays with a ferocity that - in tandem with taut rhythmic control - adroitly avoids even the slightest hint of frenzy. And yet, for all its intensity and firmness of grip, there's an equally riveting sense of spontaneity to is playing, too - particularly in Adams's Concerto...The Korngold Concerto is similarly convincing. Gringolts is rapturous where appropriate but finds an unusual element of playfulness.

the genius of this coupling is in reversing that cliché about the Viennese composer: “more corn than gold”...Gringolts, with superb technique and focused tone, is well served by the orchestra and both conductors.

[The Adams Concerto is] played with authority and spark by Gringolts...Korngold’s 1947 concerto – this one conducted by Julien Salemkour – is an even better showcase for Gringolts, whose strikingly expansive lyricism keeps schmaltz at bay.

His tone is sweet, but with an edge of tart freshness; his bowing is lithe, and interpretatively he finds the depth behind the music’s glitzy exterior without recourse to exaggeration

Gringolts’ way [with the Adams concerto] is direct, brusque even sometimes and…it’s a cogent and entertaining reading. In the Korngold, Gringolts faces more competition; but his measured approach works better here, and the playing of the Danish orchestra is truly winning.

Gringolt’s coupling is another compelling performance, an account of the Korngold Concerto that marries sweetness and wit to a brand of sentiment that never stoops to mere ‘Heifetz-imitation’- always a temptation in this piece. His account of the central ‘Romance’ is among the loveliest we have had in recent years